'Gamescom' 2023

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At this year’s Gamescom we tried to stack our schedule with as many horror (or horror-adjacent) titles as we possibly could.

Rushing around the expansive halls of the Koelnmesse venue — trying to make each of our back-to-back appointments — we barely had chance to catch our breath across the jam-packed three days we were there. Among other things, we previewed nearly an hour of Alan Wake 2, got the inside scoop on Still Wakes the Deep, had a lengthy hands-on session with Lords of the Fallen, and then went on a perilous expedition into the bowels of Moria.

But that only represents a small fraction of the exciting projects we saw here. In addition to those big tentpoles, we also took a look at the efforts of some plucky solo devs and indie studios who’ve been working away on interesting little titles that you might be sleeping on.

Here are 9 of the best that we think you should be on your radar.

CONSCRIPT

There’s been something of a resurgence lately in old-school survival horror, with scores of indie releases trying to ape the feel of PSOne classics like Silent Hill. Between Puppet Combo’s Murder House and last year’s phenomenal SIGNALIS, you’d be forgiven for thinking that the 1990s never went away.

CONSCRIPT is yet another example of a game that’s hoping to tap into this nostalgic craze. It has all the elements you’d expect to see in one of these throwbacks; from the low-res visuals to the top-down perspective, deliberately stilted combat, and obtuse puzzles.

However, what sets it apart from all the other titles that are cashing in on this voguish trend is its unique period setting. Dropping players into the trench boots of a French infantryman (at the infamous Battle of Verdun), CONSCRIPT renounces the schlocky thrills of Raccoon City or Derceto Manor, in favour of the very real atrocities of WW1.

A much more human enemy substitutes for the usual zombie throngs here, as you futilely try to repel the advancing German forces. On that note, none of the threats that you’ll be facing were concocted in a secret lab by avaricious supervillains, nor is there anything remotely supernatural afoot. It’s just the everyday horrors of war; pure and simple.

Explaining the concept to us at his Gamescom booth, Solo Developer (and history graduate) Jordan Mochi said: “We’ve all played enough survival horror titles that have monsters and ghosts. And I didn’t want to do that in my game, because I felt it would just cheapen the experience. I believe that depicting one the world’s bloodiest conflicts should be scary enough in its own right.”

On that point, we’re inclined to agree. After all, the short demo of CONSCRIPT that we played assured us that Mochi has been able to do justice to his heady subject matter. Indeed, his game envelops you in the hell of trench warfare, and authentically conveys the sense of impending doom that comes with harbouring the terrible knowledge that you may have to go over the front lines at any moment. Published by Team17, you can add CONSCRIPT to your Steam Wishlist now.

Hellboy: Web of Wyrd

Through no fault of its own, this one has a bit of a pall hanging over it, given that it features a posthumous performance from the late Lance Reddick.

For what it’s worth, we think he’s done a great job in the lead role here and brings a suitably cantankerous quality to his portrayal of Anung Un Rama. It’s pitch-perfect voice casting and you could envision him having one day become synonymous with the part (much like how Mark Hamill made the Joker his own) had circumstances been different.

In general, Hellboy: Web of Wyrd is shaping up to be a faithful adaptation of its source material that will no-doubt please fans. Created in partnership with Dark Horse and original creator Mike Mignola, it nails the recognisable art style of those comic books by seamlessly translating it into 3D. With thick heavy lines, bold colours, minimalist detailing and heavy shadows — plus a deliberately lower frame rate in certain places, recalling the Spider-Verse films — it’s a veritable feast for the eyes.

Elsewhere, Mignola’s world-building and lore have been respectfully preserved too, with one notable exception. This version of Big Red has had to quit chomping on cigars, not for the sake of his health, but rather for the game to secure its desired ESRB rating.

That one trivial concession aside, Web of Wyrd delivers practically everything you’d want from a Hellboy brawler. There’s opportunity to interact with your B.P.R.D colleagues, to wield the iconic Samaritan hand cannon, and to unleash the devastating power of the Right Hand of Doom. Throw in some weighty punch-ups against a diverse roster of eldritch creatures and everything falls into place.

Developed by Upstream Arcade and Published by Good Shepard Entertainment, Hellboy: Web of Wyrd will be released on the 4th of October. It will launch on Nintendo Switch, PS4, PS5, Xbox One, Xbox Series X|S, and PC. You can add it to your Steam Wishlist here.

Forgive Me Father 2

The original Forgive Me Father was one of the better boomer shooters to come out in recent years, distinguished by its Lovecraftian theming and hand-drawn aesthetic.

When it came to the latter, developer Byte Barrel told us that their ambition was for every single frame to look like it could have ripped straight from a comic-book panel, and it was certainly very screenshot-worthy in that respect. Whether you were just standing around admiring the gothic scenery or blasting weird fishmen into tiny giblets with your shotgun, you could pause the action at any given juncture and just marvel at the grotesque artistry of it all.

Capitalising on what worked so well last time, Forgive Me Father’s upcoming sequel is aiming to crank up the splatter to an even more ludicrous degree. While one of the highlights in the first game was how you could shoot a zombie’s head off, only for them to then replace it with a spare noggin that they happened to be lugging around, that’ll seem positively tame compared to some of the outrageous sights you’ll witness in this follow-up.

The preview we saw at Gamescom was a non-stop orgy of blood, guts and eviscerations that reached near-comical levels of excess. After a frenetic shootout, you often couldn’t make out the environments anymore because every square inch of them was now covered in some kind of fleshy viscera.

On the less gloopy side of things, Byte Barrel is also making a few technical improvements to the established formula. Namely, Forgive Me Father 2 will have more interactive levels, an expanded upgrade system, a new hub area, and sprites that can face in up to eight directions instead of just one (meaning that you can now appreciate all that sweet, sweet gore from different angles)!

Brought to you by Fulqrum Publishing, Forgive Me Father 2 can be added to your Steam Wishlist here.

Diluvian Ultra

A fellow boomer shooter (and Fulqrum Publishing stablemate), Diluvian Ultra has a lot in common with Forgive Me Father 2. At least on the surface.

Both titles have embraced a retro design philosophy, whereby success is dependent on you constantly moving, unloading ammo with reckless abandon, and generally making a mess of the place. Indeed, taking things slow and playing cautiously in either of these upcoming releases is highly discouraged.

Which makes perfect sense in the case of Diluvian Ultra. After all, you wouldn’t expect a game about an undead, space zealot who’s hell-bent on getting revenge to exercise much in the way of restraint.

If you’re wondering what differentiates this one in such a crowded field, it’s the innovative approach to calculating damage. You see, enemies in Diluvian Ultra effectively have two colour-coded health bars; one measuring the integrity of their armour, and then another (sitting just beneath that) for displaying their life force. In order to whittle down the former, you’ll need to hit opponents with matching yellow projectiles, while the latter is depleted exclusively through the use of red attacks.

Where things get really interesting is that your so-called “lethal damage” fluctuates according to how much of the red bar is exposed on screen. So, if you’ve not worn down the enemy’s shield whatsoever, then your next lethal hit won’t even make a dent in their health pool. On the other hand, if you’ve completely sapped them of all their armour, then you could be primed to deliver a one-hit kill.

It’s an intriguing gimmick that promises to add an extra layer of strategy to combat and to get you thinking on your feet. Be careful though, because the same rules governing how your foes take damage also apply to you. You can add Diluvian Ultra to your Steam Wishlist here.

Ripout

If you prefer your shooters to be of the slower, more methodical variety, then Ripout ought to be your jam.

A procedurally generated, co-op experience, it tasks you with exploring derelict spaceships that (surprise, surprise) are overrun with killer cyborgs. As with something like Left 4 Dead or last year’s The Anacrusis, there are only a finite number of missions to choose from here, but the scaling-difficulty, randomised objectives and unpredictable enemy spawns should keep you coming back for more.

Yet what most stood out to us was the relatively measured pacing. Taking a leaf out of Alien: Isolation’s book, you could feasibly go several minutes without encountering a solitary bogey in Ripout. Instead, the developers at Pet Project Games are content to let the mounting dread and anticipation do all of the heavy lifting, before then unleashing some unspeakable body-horror abomination just as you’ve let your guard down.

Where a lot of similar games feel like they have one tempo (i.e.: hordes endlessly pouring in without a second’s abate) Ripout has a nice ebb and flow that makes its scares all the more effective once they arrive.

Not to mention, it also featured our standout weapon of Gamescom 2023: the versatile pet-gun. A firearm that’s affixed to what appears to be a baby xenomorph, this can be used as your standard-issue assault rifle, but its true potential comes from that detachable critter.

With the mere press of a button, you can dispatch your pet to either distract opponents or to graft onto them. When it returns, it will then come furnished with their cybernetic enhancements and a new secondary fire for you to try out.

In our demo, we saw the pet fuse with a gelatinous sac that discharged poisonous gas, as well as a powerful laser capable of vaporising monsters to a crisp. Suffice it to say, we can’t wait to see what other tricks it has up its sleeve when the full game releases.

Published by 3D Realms, Ripout will be coming to PS5, Xbox Series X|S, and PC later this year. You can add it to your Steam Wishlist now.

Remedium

Rounding off our list of shooters that we sampled at Gamescom, Remedium is more of an arcadey, twin-stick affair.

Although the gameplay is pretty typical in that regard, it was still worth a gander in our opinion thanks to its fascinating setting. Blending together aspects of post-apocalyptic sci-fi, renaissance history and viral outbreak horror; it’s unlike anything we’ve ever seen before in the genre.

The central conceit is that all progress in this world came to an abrupt halt after a dreadful plague began spreading throughout the population, infecting both humans and animals alike. You yourself have contracted this nasty disease — which, in a subversive twist, actually gives you some cool buffs in combat — and thus embark on a quest to find a cure.

Along the way, you’ll be gunning down waves of mutant dogs, birds and even rhinos with your old-timely blunderbuss. Speaking of which, the other distinguishing feature here is that almost every piece of equipment in your arsenal can be augmented with elemental properties, through the era-appropriate science of alchemy.

In practice, this means that you’ll be able to transmute grenades into water bombs, coat your rounds in flammable liquid, or reconfigure your weapon as an electrical conduit. Judging from our brief test drive, it looks like there will be great scope to fiddle around with these options and to create your ideal builds.

Don’t just take our word for it though. You can see what all of the fuss is about right now by signing up to the Remedium playtest on Steam!

Vorax

Open-world survival crafting indies are a dime a dozen nowadays, and you no longer count on such overused keywords to turn heads. If anything, those labels are more likely to provoke beleaguered eye-rolls than they are to pique anyone’s interest.

Fortunately, Vorax has found a way to spice up these tired proceedings by chucking in giant deformed babies, bloated mutants, and creatures that resemble Belial from the Basket Case movies. Who knew that breathing fresh life into a genre could be so simple?

Developed by IndieGala (who are primarily known for being a digital storefront, but recently have branched out into development), the game has all of the usual trappings of this type of fare. You’ll be gathering resources by day, boarding up windows at dusk, and withstanding infected swarms when night falls. Just like in countless other games.

Yet it still managed to get on our radar due to its insane bestiary, more story-driven approach, and immensely satisfying chainsaw.

If you want to give it a spin for yourself, the very same demo that we played at Gamescom can now be downloaded off Steam.

Gori: Cuddly Carnage

A frenetic candy-coloured bloodbath, Gori: Cuddly Carnage more than lives up to its homophonous title.

The team at Angry Demon Studio (another fantastic name by the way) have delivered a balls-to-the-wall hack & slack, wherein not a millisecond of playtime can elapse without somebody being graphically dismembered.

The attention-grabbing hook is that you control an anthropomorphic, hover-boarding kitty cat who has taken it upon themselves to *checks notes* depose an occupying army of sentient unicorn plushies. Having somehow passed by quality control at the factory, these innocent-looking toys come in many different shapes and sizes, but are united by a common goal. That being to wipe out their human makers.

With mankind having sealed its own fate then, it’s up to you and your A.I. skateboard to defend the planet; one day-glo massacre at a time.

Yes, it’s every bit as ridiculous as it sounds. However, what took us by surprise was just how polished and mechanically refined Gori is.

A game with such a quirky premise could easily coast by on the strength of its zaniness and use it as a crutch, yet that’s not the case at all here. On the contrary, we found the platforming to be incredibly responsive, the combat to be buttery smooth and the vibrant spectacle to be consistently eye-popping.

Published by Wired Productions, Gori: Cuddly Carnage will be heading to PlayStation 4, PS5, Xbox One, Xbox Series X|S, PC and Nintendo Switch in 2023. You can add it to your Steam Wishlist now.

The Time I Have Left

Overflowing with ideas, The Time I Have Left ended up being a real dark horse and quite possibly our star of the entire show at Gamescom 2023.

Structured as a desperate race against the clock, it casts you in the role of a woman (residing in some far-flung, dystopian future) who discovers that she has only 6 hours to live, owing to a fatal illness of indeterminate origin.

Resolved to make the most of these precious last moments, she makes it her goal to escape from the underground facility that’s currently holding her captive before that hourglass runs out. Even if doing so means fighting until her literal dying breath.

Of course, this proves to be easier said than done, given that the mysterious affliction is also causing her to flit back and forth between the real world and some kind of nightmare dimension that’s inhabited by demonic creatures.

Unlike Remedium — which similarly features a protagonist surviving on borrowed time — there is a proper countdown mechanic for every chapter here, forcing you to make tough choices about where you want to explore and what parts of the story you want to meaningfully engage with. Complicating these matters further, if you are ever defeated in the game’s turn-based combat (against bizarre monsters that wouldn’t feel out of place in a Hieronymus Bosch painting), then you’ll skip ahead a few minutes, further increasing that sense of urgency.

There’s a lot going on in The Time I Have Left and we’ve hardly scratched the surface with this description. While we waited for our hands-on session, developer Ground Game Atelier told us all about their lofty aims, including how they wanted to explore the psychological blow of getting a terminal prognosis, and how an individual is supposed to process that and ultimately get their priorities straight.

With that said, if you’re in the market for something that’s not afraid to tackle hefty themes, this one could be quite special. Planned for release in 2024, you can add The Time I Have Left to your Steam Wishlist now.

Opinionated, Verbose and Generally Pedantic. Loves Horror in all of its forms.

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The Girl Who Cried Monster was originally published in May 1993 (Spine #8) and the series adaptation aired on Saturday, November 11, 1995 (runtime: 22 minutes).

The ultimate escape from authority, responsibility and school, summer break is as precious to kids as any holiday, birthday or celebratory excursion combined. It’s a time of imagination and procrastination, a time for lounging in the sun, riding bikes with friends and endless hours spent in front of whatever screen one might deem fit to watch.

And in that time of freedom and fun, what could be more terrifying than a library?

The Girl Who Cried Monster is one of the Goosebumps series’ earliest entries and remains one of its simplest, concerning a monster obsessed girl and her run-in with a real life creature of darkness who also happens to be the town’s librarian. Combining the mundane annoyances of everyday kid life with the outlandish monstrosities that might lurk on the periphery of suburban normality, the book is an entertaining page-turner that roots its scares in the threat of a summer lost to study— and a flesh-starved, shape-changing beast.

The story was adapted for the screen almost immediately, being the first produced and fourth aired episode of the long running television series. As with many of the original installments, the adaptation adheres closely to the page, streamlining the book’s narrative while preserving dialogue and general story points. It’s one of the few episodes that truly captured the book on screen and helped to establish a precedent for viewers that would go on to be ignored far more often than it was ever adhered to.

With impressive creature effects and a stylish atmosphere, The Girl Who Cried Monster went on to make a visual impression that was as noteworthy as the book’s own reputation. A Goosebumps classic if there ever was one, it places the monster-kid so many young horror aficionados can identify with in the driver’s seat and despite summer schoolwork, aloof parents and a bratty little brother, shows what the macabre obsessed youngster is truly made of. After all, the book makes a good, if not somewhat contradictory, point: anyone forcing a kid to read during summer break has to be a monster, right?

The Story

Lucy is obsessed with monsters. She daydreams about them all the time. Her parents yell at her to stop tormenting her little brother Randy with monster stories, but she just can’t help herself. That is, until the day she encounters a real monster: the town librarian. Known for her tall tales and monstrous stories, no one believes Lucy’s terrifying accusations. And if she’s not careful, Lucy might become the victim of the kind of spooky yarn she tended to specialize in. A warning to those that might make the mistake of trying to take down a real monster.

The Girl Who Cried Monster was published in May of 1993, landing as the eighth title in the run. A simple story about a monster-infatuated, over-curious girl who stumbles upon the truth that her town librarian and leader of the summer reading program is, in fact, a monster himself. It concerns the isolation of mistrust and the common lack of support in young convictions, standing as a favorite in the franchise and one of R.L. Stine’s most memorable works.

The Adaptation

Aligned from the start, both the book and episode open with a voice over monologue from Lucy Dark. Her words profess a love of monsters and an obsession with torturing her little brother Randy with creature laden stories before going on to inform that when she met a real monster, no one believed her. On screen and on the page Lucy regales Randy with a tale about the Timberland Falls Toe Biter, a chameleonic creature that feeds on children’s toes. The show excises a scene that follows where Lucy manages to frighten her neighbor too, a boy named Aaron, with a tall tale about a monster in a tree. Either way, it is clear that Lucy will concoct monster stories for anyone willing to listen.

In both versions Lucy is ushered to the library for her Reading Rangers meeting, a summer reading program that she has been begrudgingly forced into. Aside from shifting the book she was supposed to have been reading from The Adventures of Huckleberry Finn to Black Beauty, her sit down with the librarian Mr. Mortman plays out similarly in the show. The episode places more emphasis on Lucy’s monster leanings, as she remarks she wished the horse in the book had two heads, but in either case she leaves the library with Frankenstein.

The book’s description of Mr. Mortman speaks of a beady eyed, short, bald and round man who is always wet, leaving wet fingerprints on pages and small puddles on his desk. The show mentions the wetness but fails to show it, also forgoing an aluminum pan of turtles that sits beside his desk on the page. In both versions, Lucy leaves the library before remembering that she had left her rollerblades there, causing her to double back.

In the book the library is a ramshackle old house that was donated to the town and revamped. It’s a small, cramped, creaky place that feels rundown and haunted. In the show the library is a towering building, more akin to a city library, filled with darkness and empty space along with towering shelves of books. Once inside and facing the monster however, both provide an eerie vibe that feels all at once vast and still somehow isolating.

In both versions she discovers Mr. Mortman’s true form. In the book, Mortman hums to himself as he unscrews a jar of flies and transforms. His face is described as blowing up like a balloon while his bulbous black eyes bulge and extend away from his head on meaty antennae. Onscreen the eyes bulge out similarly in stop-motion animation and the creature cackles as it feasts on crickets instead of flies.

The middle portion of the book extends the back and forth between Lucy and Mr. Mortman. She heads home and attempts to tell her parents what happened but they ignore her, playfully debating how big the meatballs should be for supper instead. The following week Lucy stays after Reading Rangers and hides in the library, shutting the door loudly to make it sound as though she had left. Lucy witnesses the man change again, wincing as Mortman crunches on his small turtles. Lucy manages to escape with Mortman in pursuit, hurrying away before the monster has a chance to identify her.

The same series of events occur in the show. While small details alter from page to screen, like turtles being exchanged for tarantulas, the biggest change comes with Mr. Mortman’s realization of who it is he’s chasing after. “Lucy… I know you’re in there…” he whispers, creating a fairly disturbing chase sequence that is absent from the page. What gives her away is the flash from a small camera she had brought with her in an effort to obtain proof, something that occurs later in the book. He corners her in the stacks but she escapes, running home and calling Aaron to recount everything she had seen.

In the book, Mr. Mortman shows up promptly at Lucy’s front door immediately following her flight from the library. He’s there to return her backpack. He asks if Lucy had stayed late, admitting his belief that someone had hid in the library to play a prank on him, but she assures him of her innocence in the matter and he leaves.

Lucy decides that she needs physical, photographic evidence if she’s ever going to convince others of Mr. Mortman’s true identity. Despite having a more contentious relationship in the book than they seem to have on the screen, Lucy calls Aaron and offers him payment if he agrees to accompany her on her mission. Still, he gets tied up with an orthodontist appointment and bails out, sending Lucy to the library on her own the next day with her camera in hand.

Like the show, the flash from her camera gives away her presence in the closed library and a chase ensues. Unlike the show, Lucy escapes with the camera and without being identified by Mr. Mortman. She convinces her parents to take the family out to eat at the mall so that she can get the photo developed right away only to discover that the picture depicted no one at all. Mr. Mortman’s empty desk and chair was all that stared back at her from the small image. Lucy’s parents shift from angry to worried as Lucy’s mania intensifies.

Onscreen, Mr. Mortman also shows up at Lucy’s door with her abandoned backpack. However, this Mr. Mortman knows exactly who was in the library and although he doesn’t make any nasty moves, he does threaten her subtly with talk of their “next little chat.” Lucy convinces her parents to get the photos developed immediately following this scene, leading to the realization that the monster cannot be photographed. Mr. Mortman bumps into Lucy outside of the photo shop in the show, condensing several other encounters that appear on the page.

Lucy’s parents invite Mr. Mortman to dinner to thank him for the summer reading program as well as his kindness in returning Lucy’s backpack. Lucy is mortified, brandishing the empty photograph and exclaiming that Mortman’s absence from the image is proof that the man is not human. Still, her cries fall on deaf ears.

The book allows for several more Mr. Mortman interactions as Lucy enlists Aaron to help her follow Mr. Mortman to his home in an effort to obtain proof of his monstrousness once and for all. Standing on an upturned wheelbarrow to peer into his living room window, Lucy watches as he transforms before a large tank and starts dining on snails and exotic fish. Before she can show Aaron, the wheelbarrow topples and she falls, causing Mr. Mortman to finally spy Lucy in his full monster regalia.

He transforms back and shares a brief exchange with Lucy, but it’s clear each now knows the other’s secret. At their next Reading Rangers meeting, Mr. Mortman locks her in the library and transforms, attacking Lucy. She only escapes by throwing the card catalogue into chaos giving Mr. Mortman pause, the librarian overtaking the monster in a desperate need to keep the system in order. Hiding in the library as Lucy did before, Aaron witnesses the whole exchange. With Aaron’s testimony in tow, Lucy once again confronts her parents about the terrible truth regarding the town librarian. Their response: invite Mr. Mortman to dinner.

Simplifying this and condensing the sheer amount of times Lucy hides in the library to see Mr. Mortman’s monstrous transformation, the episode moves right from the scene at the one hour photo place to dinner. At this point, the book and the show again sync up.

Mr. Mortman enters the Dark family’s home and is cordial and polite. He eyes Lucy knowingly and makes several underhanded remarks before inquiring about the night’s menu. In response to the question of what is being served, Lucy’s father replies simply, “you are.” It’s then that Lucy’s parents sprout sharp fangs, a mouthful of them in the episode, and close in on Mr. Mortman. Onscreen, the Dark parents become lizard people, scaly and green, something not described in the book.

Both the book and the show conclude in the same way. The Darks devour Mr. Mortman, explaining to their delighted children that no monster had come to their town in over twenty years which is why Lucy’s parents found her claims so unbelievable. It was too dangerous to have another monster scaring the townsfolk, so the Darks had to take care of the problem. The show concludes with Aaron showing up in a monster mask and nearly being eaten by the Darks, while the book finishes with fledgling monsters Lucy and Randy again being scolded for telling monster stories before bed.

In both cases the status quo is restored, summer is back on track and the suburbs are safe from monsters once more. Well, in a manner of speaking.

Final Thoughts

The Girl Who Cried Monster is lean and mean, a concise and controlled story about one girl’s fascination with monsters, both real and imagined. Not only an appeal to every kid that’s ever loved the weird and the strange, but a branch to those that have an imagination and a drive to convince others to come along for the ride.

On the page, the story is one of R.L. Stine’s classics. Accompanied by Tim Jacobus’ art of a maniacal man hungrily clutching a fly as a terrified girl watches silently from a red-lit doorway, its simplicity and ever building sense of tension allows it to stand out amongst the stacks and stacks of books that bear the Goosebumps name. On the screen, the story is streamlined even further, narrowing the events down to only a few choice encounters with the bulging eyed beast and ensuring that every moment Lucy and Mr. Mortman share the screen is infused with danger.

Still, it’s the creature effects on display for Mr. Mortman’s transformation that truly make this an episode worth celebrating. It’s a monster that feels slimy and alive, dangerous and hungry, and serves to further enhance the legacy of the page by providing a disgusting face to the repugnant description. The episode may not have been able to contain the various twists and turns that Stine charted for his ravenous readers, but the effectiveness of the creature work more than makes up for any literary extractions.

While it may seem contradictory to advocate against a summer reading program in a book designed for kids to read, it’s that kind of self-awareness that has always made Goosebumps the perfect foil for any youngster Hellbent on avoiding their scholarly duties. It’s a series that understands, embraces and exaggerates the power of imagination and uses the very logic of the anti-reading, summer-bound adolescent to prove why a book can be an incredibly entertaining way to pass the school-free months.

After all, if there were monsters in there, what kid wouldn’t want to go to a library?